Robin Ple­nio (*1993 in Höx­ter) is a com­po­ser, theat­re maker, per­for­mer and media artist. He stu­di­ed musi­co­lo­gy, cul­tu­ral stu­dies and aes­the­tic prac­ti­ce, sta­ging of the arts and media as well as new com­po­si­ti­on tech­ni­ques in Müns­ter, Hil­des­heim and at the Hfmt Hamburg. 

During his stu­dies, he began working in the inde­pen­dent theat­re sce­ne for various coll­ec­ti­ves. He moves bet­ween elec­tro­nic sound expe­ri­ments, pop, inter­ac­ti­ve music­pro­gramming and sound­art. His work has been seen and heard at the Sophien­sae­le, the inter­na­tio­nal sum­mer fes­ti­val Kamp­na­gel, Ball­haus Ost, Licht­hof Thea­ter and Thea­ter an der Park­aue. In addi­ti­on to his work in the inde­pen­dent theat­re sce­ne, he rea­li­ses music for short films, cine­ma or instal­la­ti­ons and works as a lec­tu­rer. He lives and works in Ber­lin and Hamburg. 

Glen Shepp­ard was born in Cana­da, whe­re he stu­di­ed acting at the Ryer­son Theat­re School. Glen works with musi­cal source texts and deals with ritu­als and an awa­re­ness of time, which result in psy­cho­lo­gi­cal cho­reo­gra­phies and their echo­es. Important works are: Y IS A QUES­TI­ON I KEEP ASKING (2018), ALEX­AN­DRIA (2019), a cor­rec­tion of Händel’s ‘Il Tri­on­fo del Tem­po e del Dising­an­no’, AUS­SER SICH (2019) a rewor­king of SALO­ME in col­la­bo­ra­ti­on with sound artist Tomas Nord­mark and UNE MYS­TI­FI­CA­TI­ON (2020 and 2022), a work con­s­truc­ted around the ‘Trois Chan­sons de Bili­tis’ by Clau­de Debus­sy. In addi­ti­on to his own works, Glen works as a Revi­val Direc­tor at the Eng­lish Natio­nal Ope­ra and Director’s Col­la­bo­ra­tor with Netia Jones, most recent­ly at the Opé­ra Natio­nal de Paris. In May 2023, Glen pres­ents UNTIL THE WATERS FOAM UP, a 9‑hour per­for­mance based on RUSAL­KA, to be fol­lo­wed in ear­ly Sep­tem­ber by I FURIO­SI, a hybrid video-con­cert or ‘ope­ra by ste­alth’ made using the second voices from Hän­dels mid-1730s Arios­to tri­lo­gy at Uferstudios. 

Bas­ti­an Zim­mer­mann ist frei­er Autor, Redak­teur, Dra­ma­turg und Kura­tor im Bereich neu kom­po­nier­ter Musik, Thea­ter und Per­for­mance. Er kura­tiert die Rei­he „Music for Hotel Bars“ und ist Her­aus­ge­ber und Redak­teur der Zeit­schrift Posi­tio­nen – Tex­te zur aktu­el­len Musik. Lebt in Ber­lin und München.

Web: bas​ti​an​zim​mer​mann​.de

Kers­tin Wie­hefoun­ded kult­kom in 1993 and initia­ted the foun­ding of Kul­tur­kon­tak­te e.V. in 2002 and Quer­Klang gUG in 2020. Sin­ce 2023 she is cer­ti­fied for sys­te­mic orga­niza­tio­nal deve­lo­p­ment and chan­ge manage­ment. Kerstin’s main are­as of work are inter­face, gen­re and cross-bor­der cul­tu­ral and edu­ca­ti­on rela­ted pro­jects as well as the initia­ti­on and accom­p­animent of net­wor­king, thin­king and struc­tu­ral pro­ces­ses and pro­jects for diver­se topics and are­as as well as for chan­ge con­cerns. She rese­ar­ches and works, among other things, on the topic of expe­ri­men­tal forms of lear­ning based on artis­tic prac­ti­ce. Lec­ture­ships at various uni­ver­si­ties. Vol­un­t­a­ry work in various clubs, asso­cia­ti­ons and struc­tu­re-giving working groups as well as in the cir­cle of spo­kesper­sons of the Coali­ti­on of the Free Sce­ne Ber­lin – repre­sen­ta­ti­on of DACH Musik. 

 

Web: www​.kult​kom​.de
Kon­takt info(at)kultkom.de

Sir­je Alek­san­dra Viise ist eine est­län­disch-ame­rik­an­si­che Voka­lis­tin, Per­for­me­rin und Künst­le­rin. Sie absol­vier­te ein Stu­di­um in Visu­el­ler Kunst und Musik in India­na, New York, Bos­ton und Ber­lin und ist spe­zia­li­siert auf erwei­ter­te Gesangs­tech­ni­ken, zeit­ge­nös­si­sche und expe­ri­men­tel­le Musik, Per­for­mance, Per­for­mance Kunst und Skulp­tur. In ihren Solo­pro­gram­men und Per­for­man­ces hin­ter­fragt sie den Cha­rak­ter weib­li­cher Per­for­me­rin­nen und die Rol­le des/​der Sänger/​in in der heu­ti­gen Gesell­schaft. Vie­le ihrer Arbei­ten sind auto­bio­gra­phi­schen Ursprungs. Sir­je Viise lebt in Berlin.

Esto­ni­an-Ame­ri­can voca­list, per­for­mer and artist, Sir­je Alek­san­dra Viise was edu­ca­ted in visu­al arts and music in India­na, NYC, Bos­ton and Ber­lin. She spe­cia­li­ses in exten­ded vocal tech­ni­ques, con­tem­po­ra­ry and expe­ri­men­tal music per­for­mance, per­for­mance art, and sculp­tu­re. In her solo pro­grams and per­for­man­ces, she ques­ti­ons the cha­rac­ter of the fema­le per­for­mer and the role of the sin­ger in con­tem­po­ra­ry socie­ty. Much of her work is auto­bio­gra­phi­cal in ori­gin. Sir­je is based in Berlin.

Web        sir​jeviise​.com

Kon­takt   sirjeviise(a)gmail.com

Mar­ti­na Stütz stu­dier­te Kul­tur- und Musik­wis­sen­schaft an der Hum­boldt-Uni­ver­si­tät zu Ber­lin und der Dub­lin City Uni­ver­si­ty. Sie arbei­tet frei­schaf­fend als Musik­thea­ter­dra­ma­tur­gin in der frei­en Sze­ne, für Fes­ti­vals sowie an Thea­ter- und Opern­häu­sern. Einen Schwer­punkt ihrer Arbeit bil­den Kon­zep­ti­on und Ent­wick­lung von Urauf­füh­run­gen sowie spar­ten­über­grei­fen­den Pro­jek­ten. Sie war u.a. für Pro­jek­te am Natio­nal­thea­ter Mann­heim, der Mün­che­ner Bien­na­le und SESC São Pau­lo, der Baye­ri­schen Staats­oper, dem Olden­bur­gi­schen Staats­thea­ter, der Jun­gen Oper Stutt­gart sowie für freie Pro­jek­te in Mün­chen, Frank­furt und Ber­lin tätig. Von 2009 bis 2011 war sie Sti­pen­dia­tin der Aka­de­mie Musik­thea­ter heu­te, 2014 Jury­mit­glied der Pro­jekt­aus­schrei­bun­gen der Koope­ra­ti­on zwi­schen AMH, Ber­li­ner Phil­har­mo­ni­ker, Fest­spiel­haus und Thea­ter in Baden-Baden. 2015 erar­bei­te­te sie im Auf­trag des Inter­na­tio­na­len Thea­ter­in­sti­tuts (Zen­trum Deutsch­land) ein Archi­vie­rungs­sys­tem für die Ein­rei­chun­gen des vom ITI aus­ge­rich­te­ten inter­na­tio­na­len Wett­be­werbs Music Theat­re Now. Von 2013 bis 2018 war sie am Deut­schen Natio­nal­thea­ter Wei­mar enga­giert, wo sie auch ver­schie­de­ne Pro­jek­te für das Kunst­fest Wei­mar initi­ier­te, dar­un­ter die deut­sche Erst­auf­füh­rung von Fre­de­ric Rzew­skis Der Tri­umph des Todes, die 2016 mit dem Götz-Fried­rich-Stu­dio­preis aus­ge­zeich­net wurde.

Kon­takt   martinastuetz(at)gmx.de

Susan­ne Stel­zen­bach, born in Reud­nitz (Thu­rin­gia), lives in Ber­lin as a free­lan­ce com­po­ser and pia­nist. She stu­di­ed at the Hanns Eis­ler Music Aca­de­my in Ber­lin (diplo­ma in 1976). 

Her many years of expe­ri­ence as a pia­nist of con­tem­po­ra­ry music shaped her as a com­po­ser. Her cata­log of works includes almost all gen­res, inclu­ding elec­tro­nic music, music thea­ter, orches­tral works and texts. Her com­po­si­ti­ons are per­for­med by well-known inter­pre­ters and broad­cas­ted by radio sta­ti­ons world­wi­de. Susan­ne Stel­zen­bach has recei­ved num­e­rous com­po­si­ti­on grants, com­mis­si­ons and pri­zes. Two por­trait CDs were released by Kreuz­berg Records: “KUNST” in 2012 and “trei­ben” in 2017. Many of her works are published by Ver­lag Neue Musik Ber­lin. In addi­ti­on to her com­po­si­tio­nal work, Susan­ne Stel­zen­bach initia­tes and cura­tes con­certs. From 2002 to 2021, she was artis­tic direc­tor of “pyra­mi­da­le” – fes­ti­val for new music and inter­di­sci­pli­na­ry art events in Ber­lin Mar­zahn-Hel­lers­dorf. Fur­ther infor­ma­ti­on: https://​www​.susan​ne​-stel​zen​bach​.de / https://​www​.pyra​mi​da​le​-ber​lin​.de / Susan­ne Stel­zen­bach- composer-YouTube 

Web www​.susan​ne​-stel​zen​bach​.de